This review covers experimental approaches to sound-symbolism—from infants to adults, and from Sapir’s foundational studies to twenty-first century product naming. It synthesizes recent behavioral, developmental, and neuroimaging work into a systematic overview of the cross-modal correspondences that underpin iconic links between form and meaning. It also identifies open questions and opportunities, showing how the future course of experimental iconicity research can benefit from an integrated interdisciplinary perspective. Combining insights from psychology and neuroscience with evidence from natural languages provides (...) us with opportunities for the experimental investigation of the role of sound-symbolism in language learning, language processing, and communication. The review finishes by describing how hypothesis-testing and model-building will help contribute to a cumulative science of sound-symbolism in human language. (shrink)

An analysis of a valenced corpus of English words revealed that words that rhyme with slurs are rated more poorly than their synonyms. What at first might seem like a bizarre coincidence turns out to be a robust feature of slurs, one arising from their phonetic structure. We report novel data on phonaesthetic preferences, showing that a particular class of phonemes are both particularly disliked, and overrepresented in slurs. We argue that phonaesthetic associations have been an overlooked source of some (...) of the more peculiar, arational aspects of slurs. We conclude by drawing broader morals about the evolution of the lexicon. (shrink)

This chapter examines the ways in which French philosopher Gilles Deleuze offers conceptual resources for an enactive account of language, in particular his extensive consideration of language in The Logic of Sense. Specifically, Deleuze’s distinction between the nonsense of Lewis Carroll’s portmanteau creations and that of Antonin Artaud’s “transla- tion” of Carroll’s Jabberwocky highlights the need for an enactive, rather than merely embodied, approach to sense-making, particularly with regard to the general category of what Jakobson and Halle (1956) call “ (...) class='Hi'>sound symbolism”. (shrink)

Developing a suggestion of Wittgenstein, I provide an account of truth tables as formulas of a formal language. I define the syntax and semantics of TPL (the language of Tabular Propositional Logic), and develop its proof theory. Single formulas of TPL, and finite groups of formulas with the same top row and TF matrix (depiction of possible valuations), are able to serve as their own proofs with respect to metalogical properties of interest. The situation is different, however, for groups of (...) formulas whose top rows differ. For them I provide (i) a tree-style system of ‘row tree proofs’, which is shown to be sound and complete, and (ii) an alternative, re-writing strategy. (shrink)

The production of sound by the machinery of change is a viral element in the problems of civilization. Conceptual historical paradox involving mind and matter as the recurring source of the problems of civilization is elaborated to expose a space reducing friction residing at the border of conceptual and empirical interpretation involving cause and effect rather than physical form. A visually based mathematical-physical form, is elaborated and discussion, based on a philosophy of motion, volume and processes that is indivisible, (...) unmoved by the willed power of the discourse, is evolved in an analogy to interpreted ancient mathematics of Euclid. (shrink)

Mythopoetry, the imagistic voice of the muses which manifests in myth and natural poetry, has been invoked as an impression of ideal curriculum with which to cherish intimate, vital experience (and to oppose its exile from educational life). In this statement, I intend to see through the pleasant surface of the label, mythopoetry, to see what image may lie just out of sight, beyond the "inspired writing" that mythopoetry implies. Beyond words themselves, meaning is found in sound and in (...) expressive representation. “Music, when soft voices die, / Vibrates in the memory” (Shelley). (shrink)

Abstract -- Most research reviews are concerned with empirical findings. This one takes astrological concepts and principles, the ideas on which astrology is based, and submits them to critical evaluation. It covers recent shifts in astrological ideas, how astrologers avoid dealing with criticism, and the problems associated with (in turn) the fundamental assumptions of astrology, the origins of astrological ideas, modern psychological astrology, astrological world views, astrological symbolism, non-falsifiability, and magical influences. To be plausible astrology needs sound ideas (...) with sound origins, and sound methods for verifying those ideas. But none of the possible origins of astrological ideas (revelation, paranormal, analogy, observation, theory) are plausible. Astrologers can explain away wrong chart interpretations by blaming the symbolism, inadvertently left out factors (such as an asteroid) method, data, the astrologer or the client. They can also dismiss the interpretation as misguided (it used to be visible events, now it is invisible inner meaning). So astrologers could never know if astrology was wrong or which of their explanatory theories could actually apply. Central ideas such as "as above so below" and "inter-connectedness" and the "whole chart" are too poorly developed to amount to anything useful. There is little agreement on many basic issues and on how to resolve differences among astrological techniques and ideas. Astrological symbolism is unsystematic and based on metaphors, analogies, verbal associations, word play, and mythology, which are developed in different ways by different astrologers with no clear way of evaluating them. The philosophies and worldviews associated with astrology are underdeveloped or poorly described. Consequently astrology does not have the resources to put its house in order. Astrology seems quite unlikely to deliver anything beyond what non-astrological factors (eg cognitive and perceptual biases) can account for. With copious quotes from leading astrologers and nearly 250 references. (shrink)

The notion of hyle seems problematic for a phenomenological foundation of experience. For this very reason, its completed invalidity was generally postulated. At the same time, there are many reflections in Husserlian writings that help us understand it better. This paper attempts to show how hyletic experience, by existing in the lived body, triggers in parallel rhythmic, vibrating, and sonorous experiences as bodily experiences. Sounds are experienced by the body before any reflections or conscious experiences of them. In this way, (...) the aporetical instance of hyletic data founds a proposal of resolution in the fundamental corporeal experience of sound. (shrink)

It’s sometimes suggested that we can (in a sense) settle the truth-value of some statements in the language of number theory by stipulation, adopting either φ or ¬φ as an additional axiom. For example, in Clarke-Doane (2020b) and a series of recent APA presentations, Clarke-Doane suggests that any Σ01 sound expansion of our current arithmetical practice would express a truth. In this paper, I’ll argue that (given a certain popular assumption about the model-theoretic representability of languages like ours) we (...) can’t know ourselves to have any such freedom. (shrink)

Symbolism, as a literary device, is widely employed in the scriptures of almost all religions. Understanding the use of symbolism in a scripture enables us to comprehend and appreciate the intended message of the scripture’s author in a better way. The poetic compositions of Sri Guru Granth Sahib (SGGS) are notable for their richness, and various images and symbols used to tell its authors’ mystical and spiritual experiences. These compositions aptly use natural symbolism to describe humanity’s diverse (...) physical and spiritual needs and suggest innovative ways to tackle these issues. As SGGS’s message is addressed to the ordinary person, the symbolism used to depict various facets and aspirations of human life has been taken from nature and Indian culture. This article reports on the usage of natural symbolism in SGGS. (shrink)

In this article, I examine the discourse around evil from the perspective of philosophical anthropology. Through an analysis of the religious symbolism of evil and an associated quest for a complete study of being, I intend in this article to explore fresh ways of establishing the relation between our rhetorical practices of evil and moral responsibility. I draw on Ricoeur’s work on the primary symbols of evil, which can be seen as a means for clarifying and extending our understanding (...) of evil and moral responsibility. I employ the concept of “the double intentionality of symbol” to advance an expressive-performative model of speaking about the full shape of moral responsibility. At stake in my paper is the possibility of recognizing the need to valorise subordinate resources of knowledge that might prevent us from studying and responding to the elusive reality of evil in intellectual abstraction. (shrink)

Whilst arguing for sounds as repeatable objects does not seem suitable to our auditory experience, considering them as events can then help us understand some of their main features. In this sense, sounds are events happening to material objects; they have a beginning and an end; they are ephemeral entities that we cannot grasp as ordinary objects. Nevertheless, supporters of event theory usually focus on the autonomous status that sounds manifest from the things in the world. Conversely, when we hear (...) sounds, we hear what and where they are sounding even in those theories that I will call detached-sound theories; in hearing them we hear how different materials create different sounds. Within the different positions of the event theory to pure-event or acousmatic proposal, the importance and role that the material has in the creation of diverse sounds does not always seem to be recognized. In this paper, I therefore aim to show how the materiality of resonating bodies and objects is given in all forms of auditory experience, not until analyzed the differences between object and event accounts in the philosophy of sound. (shrink)

In this paper I argue that composer John Cage’s so-called ‘silent piece’, 4’33”, is music. I first defend it against the charge that it does not involve the organization of sound, which has been taken to be a necessary feature of music. I then argue that 4’33” satisfies the only other condition that must be met for it to be music: it bears the right socio-historical connections to its predecessors within its tradition (Western art music). I argue further that (...) one cannot understand the organized sound condition and the socio-historical condition separately and that understanding their interaction has theoretical benefits—not least of which is providing a groundwork for a more culturally inclusive philosophy of music. Finally, I consider a number of outstanding questions concerning the content of the organized sound condition for Western art music in the wake of 4’33”. (shrink)

Methodology and theory in science are related to a philosophy in which the centric position of the first person, perception and cognition are made the exclusive focus for interpretation involving mirroring, symbolism, and need, criteria from which major first scientific works in Anthropology originated. A new orientation is found for some notions in physics and cosmology, especially those revolved around an ether as a substrate for the transmission of light that are used in explanation in Theory of Relativity, interpretation (...) of experiment. The interferometer and red shift, theory and experiment in biology, as well as aspects of Ancient Philosophies, and a modern age of extended means of communication are discussed and compared in critique with respect to a visual model, created mathematically, of an egg, that is used to demonstrate proposed physical and conceptual form. The Earth, civilization is argued to have a unaware two-timing complex in thinking social and behavioral aspects caused by the external invasion of spaces by unknown phenomenon dating back to the time of Eve and reflected from a philosophical incompleteness to a space structured with a like two-timed weave of conceptual and material form. (shrink)

The current literature on norms of inquiry features two families of norms: norms that focus on an inquirer’s ignorance and norms that focus on the question’s soundness. I argue that, given a factive conception of ignorance, it’s possible to derive a soundness-style norm from a version of the ignorance norm. A crucial lemma in the argument is that just as one can only be ignorant of a proposition if the proposition is true, so one can only be ignorant with respect (...) to a question if the question is sound. (shrink)

My aim in this paper is to explicate the diversity of Indian Symbolism and to show the changing patterns of symbols. The first part is mostly descriptive and interpretative and tries to bring out the different forms of Indian Symbolism. The second part tries to bring out the different kinds of changes that are possible with regard to symbols.

Both Franz Brentano and Edmund Husserl addressed sound while trying to explain the inner consciousness of time and gave to it the status of a supporting example. Although their inquiries were not aimed at clarifying in detail the nature of the auditory experience or sounds themselves, they made some interesting observations that can contribute to the current philosophical discussion on sounds. On the other hand, in analytic philosophy, while inquiring the nature of sounds, their location, auditory experience or the (...) audible qualities and so on, the representatives of that trend of thought have remained silent about the depiction of sound and the auditory phenomena in the phenomenological tradition. The paper’s intention is to relate both endeavours, yet the perspective carried out is that of analytic philosophy and, thus, I pay special attention to conceptual analysis as a methodological framework. In this sense, I first explain what sound ontology is in the context of analytic philosophy and the views that it encompasses— namely, the Property View (PV), the Wave View (WV) and the Event View (EV)—. Secondly, I address the problems it entails, emphasising that of sound individuation. In a third section, I propose the possibly controversial conjunction of a “Brentano-Husserl Analysis of the Consciousness of Time” (for short “Brentano-Husserl analysis”) and outline the commonalities of both authors, without ignoring its discrepancies. My main focus is Husserl’s 1905 Vorlesungen zur Phänomenologie des Inneren Zeitbewusstseins. While addressing the Brentano-Husserl analysis, I elaborate on the problem of temporal and spatial extension (Raumlichkeit and Zeitlichkeit, respectively) of both consciousness and sound. Such comparison is a key one, since after these two developments, one can notice some theoretical movements concerning the shift of attention from sounds to the unity of consciousness, and how they mirror each other. After examining the controversial claims concerning the temporal and spatial extension of both consciousness and sound, I argue in the concluding paragraphs that while considering the accounts of sound ontology, the Brentano-Husserl analysis would probably endorse a Property View and that this could have interesting consequences for the issue of Sound Individuation. (shrink)

Building on the notational principles of C. S. Peirce’s graphical logic, Pietarinen has tried to develop a propositional logic unfolding in the medium of sound. Apart from its intrinsic interest, this project serves as a concrete test of logic’s range. However, I argue that Pietarinen’s inaugural proposal, while promising, has an important shortcoming, since it cannot portray double-negation without thereby portraying a contradiction.

The adoption of web-based telecare services has raised multifarious ethical concerns, but a traditional principle-based approach provides limited insight into how these concerns might be addressed and what, if anything, makes them problematic. We take an alternative approach, diagnosing some of the main concerns as arising from a core phenomenon of shifting trust relations that come about when the physician plays a less central role in the delivery of care, and new actors and entities are introduced. Correspondingly, we propose an (...) applied ethics of trust based on the idea that patients should be provided with good reasons to trust telecare services, which we call sound trust. On the basis of this approach, we propose several concrete strategies for safeguarding sound trust in telecare. (shrink)

We hear sounds, and their sources, and their audible qualities. Sounds and their sources are essentially dynamic entities, not wholly present at any given moment, but unfolding through their temporal interval. Sounds and their sources, essentially dynamic entities, are the bearers or susbtrata of audible qualities. Audible qualities are qualities essentially sustained by activity. The only bearers of audible qualities present in auditory experience are essentially dynamic entities. Bodies are not, in this sense, essentially dynamic entities and so are not (...) present in our auditory experience. Though absent in auditory experience, we may, nonetheless, attend to bodies in audition, when an audible sound-generating event in which they participate presents a dynamic aural image of them. (shrink)

We respond to some of the points made by Bennet and Blanck (2022) concerning a previous publication of ours (2021).

In the realm of the philosophy of sounds and auditory experience there is an ongoing discussion concerned with the nature of sounds. One of the contestant views within this ontology of sound is that of the Property View, which holds that sounds are properties of the sounding objects. A way of developing this view is through the idea of dispositionalism, namely, by sustaining the theory according to which sounds are dispositional properties (Pasnau 1999; Kulvicki 2008; Roberts 2017). That portrayal, (...) however, is not sufficient, as it has not inquired the metaphysical debates about dispositions beyond the conditional analysis. In this paper, I try to advance this view by including recent developments (for instance Bird 2007; Vetter 2015) in the field of dispositionalism and I analyse whether this new version can sort out known and new objections to Property View. (shrink)

Sound is one of the types of waves that can be felt by the sense of hearing (ears). In physics, the definition of sound is something that is produced from objects that vibrate. Objects that produce sound are called sound sources. The sound source that vibrates will vibrate the molecules into the air around it. Sound is mechanical compression or longitudinal waves that propagate through the medium. This medium or intermediate agent can be liquid, (...) solid, gas. So, sound waves can propagate for example in water, coal, or air. Most sounds are a combination of various vibratory signals composed of harmonic waves, but pure sound can theoretically be explained by oscillating vibrational speed or frequency measured in Hertz (Hz) vibration units and amplitude or loudness of sound with measurements in decibels (dB). The effect sounds can have on us humans is simply astounding. While everyday life becomes stressful, overcrowded and increasingly hectic, we seek ways for inner peace and balance. The power of music, felt through overtone-rich sound therapy and sound massage, can be a solution. No matter how much scientific explanation is behind it, healing through music remains fascinating, even magical. This paper introduces a new field called cymatics and sound healing with their plausible impact to spirituality and consciousness research. (shrink)

We take ourselves to have an inner life of thought, and we take ourselves to be capable of linguistically expressing our thoughts to others. But what is the nature of this “inner life” of thought? Is conscious thought necessarily carried out in language? This paper takes up these questions by examining Merleau-Ponty’s theory of expression. For Merleau-Ponty, language expresses thought. Thus it would seem that thought must be independent of, and in some sense prior to, the speech that expresses it. (...) He also claims, however, that thinking just is linguistic expression, and thus that language constitutes thought. The primary aim of this paper is to make sense of this constitutive claim while maintaining that, for Merleau-Ponty, there is an inner life of thought that exists independently of linguistic expression, and that this inner life rightly deserves the label “thought”. The upshot of this account is twofold. First, it explains why the mainstream view of Merleau-Ponty’s theory of expression seems plausible, but is ultimately inadequate. Second, it functions as a corrective to contemporary debates about the nature and scope of phenomenal consciousness and the sense in which conscious experience has content. (shrink)

Philosophical exploration of individualism and externalism in the cognitive sciences most recently has been focused on general evaluations of these two views (Adams & Aizawa 2008, Rupert 2008, Wilson 2004, Clark 2008). Here we return to broaden an earlier phase of the debate between individualists and externalists about cognition, one that considered in detail particular theories, such as those in developmental psychology (Patterson 1991) and the computational theory of vision (Burge 1986, Segal 1989). Music cognition is an area in the (...) cognitive sciences that has received little attention from philosophers, though it has relatively recently been thrown into the externalist spotlight (Cochrane 2008, Kruger 2014, Kersten forthcoming). Given that individualism can be thought of as a kind of paradigm for research on cognition, we provide a brief overview of the field of music cognition and individualistic tendencies within the field (sections 2 and 3) before turning to consider externalist alternatives to individualistic paradigms (section 4-5) and then arguing for a qualified form of externalism about music cognition (section 6). (shrink)

This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...) the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal. (shrink)

In Interstitial Soundings, Cynthia R. Nielsen brings music and philosophy into a fruitful and mutually illuminating dialogue. Topics discussed include the following: music's dynamic ontology, performers and improvisers as co-composers, the communal character of music, jazz as hybrid and socially constructed, the sociopolitical import of bebop, Afro-modernism and its strategic deployments, jazz and racialized practices, continuities between Michel Foucault's discussion of self-making and creating one's musical voice, Alasdair MacIntyre on practice, and how one might harmonize MacIntyre's notion of virtue development (...) with Foucauldian resistance strategies. (shrink)

When beginning to think about the relation between experimental music and the thought of Gilles Deleuze, this quotation seems to be a natural starting point. In Deleuze and Guattari’s affirmation of this phrase from John Cage they suggest a resonance between music and philosophy: in both fields the experimental approach entails a dismantling of predetermining codes and hierarchies, and with this arises the opportunity for an open-endedness that accommodates singular events and encounters. This understanding of experimentation, however, is not as (...) transparent as it seems. In the context of the uptake and critique of Deleuzian ideas in the theorisation of music and sound, as well as recent re-evaluations of the milieu of “experimental music,” critics have argued that a range of normative demands, ideological assumptions, and metaphysical reductions undermine the purported freedoms of both Cagean and Deleuzian experimentalism. -/- Here I can only deal with a small aspect of the wide historical and theoretical problem this involves; but in short my aim is to begin to construct a means through which Deleuze and Guattari’s thought can be used to help us examine some strategies that composers and performers in post-Cagean musical experimentalism developed to navigate around the demands, assumptions, and reductions of Cage’s thought. (shrink)

The paper deals with visions of Kyiv in the writings of Russian and Ukrainian émigré writers during the interwar period. The city became a focal point of intensive intellectual debate whose participants regarded Kyiv not only as a place of a recent battleground but also as a sacral place and a highly symbolic image. Within the methodological framework of ethnic symbolism, this study attempts to explain how this physical/symbolic dichotomy was used to reinforce continuing claims for historical origin and (...) cultural heritage, thus serving the contemporary purpose of national identity and political legitimacy. It also deploys the concept of displacement as a complex process of negotiation between homeland and hostland within an émigré community — whose sense of loss and identity crisis creates additional impetus, though in different forms, for exploiting historical narratives. (shrink)

"Twilight of the Idols" plays an important role in Nietzsche’s work, since it represents the opening writing of the philosophical project called "Transvaluation of all values". In that text, Nietzsche aims to sound out the "eternal idols", which means to disclose the inconsistency of the principles of traditional metaphysics. The way Nietzsche addresses the "old truths" in Twilight of the Idols leads back to his early writings, when his theory of knowledge is first outlined, inspired by Schopenhauer as much (...) as neo- and post-Kantian thinkers such as F. Lange and A. Spir. As I shall show, these observations can be compared with Ernst Mach's anti-metaphisical attitude to the ordinary world-conception, insofar as Mach as much as Nietzsche stressed the importance of a historical approach as instrument to enlighten the "prejudices" of traditional scientists or philosophers. (shrink)

Reasons internalism holds that reasons for action contain an essential connection with motivation. I defend an account of reasons internalism based on the advisor model. The advisor model provides an account of reasons for action in terms of the advice of a more rational version of the agent. Contrary to Pettit and Smith's proposal and responding to Sobel's and Johnson's objections, I argue that the advisor model can provide an account of internal reasons and that it is too caught up (...) in the psychology of the actual agent to be able to account for anything other than internal reasons. (shrink)

Is kinship insignificant in Western societies? This paper presents an objection to the symbolism solution for why it is significant.

In this paper I consider two related issues raised by Aristotle 's treatment of hearing and sounds. The first concerns the kinds of changes Aristotle takes to occur, in both perceptual medium and sense organs, when a perceiver hears a sounding object. The second issue concerns Aristotle 's views on the nature and location of the proper objects of auditory perception. I argue that Aristotle 's views on these topics are not what they have sometimes been taken to be, and (...) that when rightly understood they compare favourably in many respects with leading contemporary accounts. (shrink)

I argue against the Primary Sound Account of Echoes (PSAE) – the view that an echo of a sound just is that sound. I then argue that if my case against PSAE is successful, distal theories of sound are false. The upshot of my arguments, if they succeed, is that distal theories are false. Towards the end, I show how some distal theories can be modified to avoid this conclusion and note some open questions to which (...) the modified theories give rise. (shrink)

The ear is one of our sensory organs that allow us to perceive our surroundings. We perceive with it the voices that the objects possess by means of the waves within the mass of air surrounding us. In this sense, the ear has an important value for being. In the Qur'an, besides being an ear or a sensory organ, it reveals a person who reflects his level of consciousness and perception, revealing his awareness. It is not just the voices heard; (...) the ear is special importance in understanding what is being said and what is said. Other sense organs and mold are mentioned together because of the feature. Of course, the word "voice" is also on the agenda when the ear is concerned. The verses found at the base of the basic qualities that man should possess present important dynamics about sound. Beyond being a symptom of voice being an inherent symptom, the latest discovery is pointing to the dimension of telling the apocalypse. This study tries to show in what context the hearing aid ear is expressed in the verses and its distinctive features, and its associated value, as well as its inherent value. (shrink)

This paper addresses the problem of sound individuation (SI) and its connection to sound ontology (SO). It is argued that the problems of SI, such as aspatiality, extreme individuation, indexical perplexity and duration puzzles are due to SO’s uncertainties. Besides, I describe the views in SO, including the wave view (WV), the property view (PV), and the event view (EV), as Casey O’Callaghan defends it. According to O’Callaghan, EV offers clear standards to individuate sounds. However, this claim is (...) countered by the consideration that any view could also defend the standards in SO, and thus, EV does not solve any of the problems mentioned above. As a way of showing the difficulties inherited by sound’s inner ontology, the problem of its linguistic representation is also addressed. The problem of SI can be developed within the frame of the philosophy of language and, specifically, regarding the discussion about mass vs count-­sortal terms. Is the term sound a mass or a count­-sortal? It is shown that, for reasons pertaining SO, the decision regarding the case of sound as a mass or count-­sortal term remains open. SI is, thus, covered from the SO to the philosophy of language. (shrink)

In recent years, some eminent scientists have argued that free will, as commonly understood, is an illusion. Given that questions such as ‘do we have free will?’ were once pursued solely by philosophers, how should science and philosophy coalesce here? Do philosophy and science simply represent different phases of a particular investigation—the philosopher concerned with formulating a specific question and the scientist with empirically testing it? Or should the interactions between the two be more involved? Contemporary responses to such questions (...) have occasionally given rise to conflict amongst members of different disciplines. Some individual scientists have dismissed philosophical objections to their scientific theories on the grounds that the philosopher lacks experience in their respective field. And some individual philosophers have rejected scientific theories on a priori grounds, without giving due consideration to the empirical evidence. In this paper, I argue that such dismissiveness, on both sides, is mistaken. I will do so by putting forward a view that is inspired by the American philosopher and psychologist William James, who has been characterised by recent commentators as having performed ‘boundary work’. Boundary work involves transgressing the dividing lines between such disciplines, and attempting to solve certain problems without being restricted to the methodology of a single discipline. To help support this position, I will examine a series of contemporary problems that are pursued in both philosophy and science that relate to moral responsibility and free will. I will argue that in order to solve such problems we need to perform boundary work. (shrink)

The ancient Greeks already used to give ethnic names to their different scales, and observations on differences in music of the various nations always raised the interest of musicians and philosophers. Yet, it was only in the late nineteenth century that “comparative musicology” became an institutional science. An important role in this process was played by Carl Stumpf, a former pupil of Brentano’s who pioneered these researches in Berlin. Stumpf founded the Phonogrammarchiv to collect recordings of folk and extra-European music (...) and a dedicated journal, the Sammelbände für vergleichende Musikwissenschaft. Gifted in the field of science no less than in that of musicology, Stumpf developed an empirically-oriented approach to phenomenology, deeply divergent from Husserl’s and highly influential over the Berlin school of Gestalt psychology. A self-declared “outsider” among armchair philosophers, Stumpf experimentally investigated the perception of sounds and the origins of musical consonance. Developing the physiological studies of Ernst Weber on the sense of touch, Stumpf discovered that two sensations of tone, given at the same time, tend to mix in a certain degree. Musical consonance – he claimed – lays in this level of “tonal fusion”, not in the allegedly “natural” series of the harmonic partials of a vibrating chord, as suggested by the naturalists of all times from Pythagoras to Stumpf’s great contemporary Hermann Helmholtz. Accordingly, no musical system can claim for preponderance over the others: Stumpf’s researches in comparative musicology served to corroborate his theses on “tonal fusion” and the psychological foundations of consonance. Although Stumpf later revised and finally abandoned this theory, its permanent value lays in its opposition to dominant naturalistic approaches. The commitment for comparative musicology at the Berlin School is then no concession to a positivistic fashion for exoticism. The fundamentally Eurocentric stance of naturalistic theories of music is also fiercely contrasted by Stumpf’s pupil Erich Hornbostel, who suggests that music ought to be considered as culture, rather than as nature, and focuses attention on the eventually melting human cultures. The Berlin school flourished until the Nazis forced most of its exponents to emigration and, for tragically obvious reasons, heavily discouraged researches on these topics. (shrink)

Could the intersection of [formal proofs of mathematical logic] and [sound deductive inference] specify formal systems having [deductively sound formal proofs of mathematical logic]? All that we have to do to provide [deductively sound formal proofs of mathematical logic] is select the subset of conventional [formal proofs of mathematical logic] having true premises and now we have [deductively sound formal proofs of mathematical logic].

This thesis explores the concept of timbre through the lens of analytic philosophical aesthetics and philosophy of music. I argue that timbre should be thought of as providing the grounds for artistic and aesthetic values in music. To this end and firstly, I critique the physical sense of timbre in favour of two anti-realist senses of timbre. These two are the qualitative and the semantic senses which are developed from two of Siedenburg and McAdams’ four senses of timbre. I argue (...) that the qualitative sense of timbre is the experience of the unique qualities of sounds. The semantic sense is that which associates timbres to objects and concepts. Within the semantic sense, I argue for what I call a genealogical sense of timbre which relates timbres to sources and concepts through a history of built up associations. Secondly, these two senses are situated within the artform of music by demonstrating the functions they may fulfil there and how these ground artistic and aesthetic values. Regarding these values, I employ Robert Stecker’s definitions of artistic and aesthetic value. Finally, I summarise the two arguments for why we should think that timbre can provide grounds for aesthetic and artistic value in music. (shrink)

This paper develops a counterexample to Davidson’s elaborate model of conventionless communication, first articulated in his (1986) and defended in his (1994a). The first part contains an analysis of the model and its assumptions. Then, in a second part, I present a case focused around the concept of overhearing. It subtracts active interaction from the model and reveals that, under these novel conditions, communication makes further demands on it, namely conformity of the prior interpretive theory of all but one of (...) the interacting members. The analysis of the case concludes, in the third part, that Davidson’s account is unsuited for explaining communication where active interpretive interactions are excluded. And hence, for describing the full range of our linguistic competence. (shrink)

Reflection Theory holds that our sensations reflect physical properties, whereas Empiricism believes that sense (data), presentations, and phenomena are the ultimate existence. Lenin adhered to Reflection Theory and criticized Helmholtz’s sensory symbolism for affirming the similarity between a sensation and a physical property. By using information and color vision theories, analyzing the ostensive definition with inverted qualia, and extending the relativity principle, this paper affirms the external world’s existence independent of personal sensations. Still, it denies the similarity between a (...) sense and a physical property. Then, it improves symbolism to analog symbolism and Reflection Theory to Information Reflection Theory. (shrink)

In this paper I challenge the widely held assumption that loudness is the perceptual correlate of sound intensity. Drawing on psychological and neuroscientific evidence, I argue that loudness is best understood not as a representation of any feature of a sound wave, but rather as a reflection of the salience of a sound wave representation; loudness is determined by how much attention a sound receives. Loudness is what I call a quantitative character, a species of phenomenal (...) character that is determined by the amount of attention that an underlying perceptual representation commands. I distinguish quantitative from qualitative character; even qualitative characters that represent degrees of sensible magnitudes are phenomenally and functionally distinct from quantitative characters. A bifurcated account of phenomenal character emerges; the phenomenal is not exhausted by the qualitative. (shrink)

I argue that an analogy between pains and sounds suggests a way to give an objective account of pain which fits well with a naïve perceptualist account of feeling pain. According to the proposed metaphysical account, pains are relational physical events with shared qualitative nature, each of which is constituted by tissue damage and the activation of nociceptors. I proceed to show that the metaphysical proposal is compatible with platitudes about pains being animate, private, and self-intimating states.

In the present article, I show that sounds are properties that are not physical in a narrow sense. First, I argue that sounds are properties using Moorean style arguments and defend this property view from various arguments against it that make use of salient disanalogies between sounds and colors. The first disanalogy is that we talk of objects making sounds but not of objects making colors. The second is that we count and quantify over sounds but not colors. The third (...) is that sounds can survive qualitative change in their auditory properties, but colors cannot survive change in their chromatic properties. Next, I provide a taxonomy of property views of sound. As the property view of sound has been so rarely discussed, many of the views available have never been articulated. My taxonomy will articulate these views and how they are related to one another. I taxonomize sounds according to three characteristics: dispositional/non-dispositional, relational/non-relational, and reductive/non-reductive. Finally, mirroring a popular argument in the color literature, I argue that physical views in the narrow sense are unable to accommodate the similarity and difference relations in which sounds essentially stand. I end replying to three objections. (shrink)

Punjabi language is most widely spoken language of Pakistan (Abbas, Chohan, Ahmed, & Kaleem, 2016). Punjabi is under developed language because of which, upcoming generations are shifting to other technically and digitally developed languages such as Urdu and English. In result of which, the sound shift is being observed in Punjabi language. Sounds which used to be present in the past in Punjabi language are found missing now. This leads to a problematic situation that this sound shift may (...) result in language extinction and sound loss. This study is about the sound change and it has been studied in Punjabi language. On the basis of observation of speech in surrounding, researcher made a hypothesis that those speakers of Punjabi language who acquired Punjabi as L1 are able to produce few distinctive sounds that are not produced by the speakers who acquired Urdu as a mother tongue. For this purpose, a corpus of 2 million words was collected and the words including the sounds |n|ن and |l| ل were particularly shortlisted from the corpus. The speakers from both origins were asked to pronounce these words, the hypothesis was proved and, in result, variations in the pronunciation of sounds were observed. Sociolinguists and Phonologists need to heed on this issue to save Punjabi language from extinction. -/- . (shrink)